‘Operaholic’ Placido Domingo powers into record books
WHEN Peter Gelb took over New York’s legendary Metropolitan Opera in 2006, one of his jobs was to organise a farewell for Placido Domingo.
But 13 yea rs later t he indef at iga ble Spa n i s h tenor i s s t i l l “t he k i ng of oper a”, head l i n i ng Fr a nce’s oldest musica l fest iva l at Orange at t he weekend.
“Since it was unimaginable that he could possibly be singing for much longer after an unmatched Met career that was soon to span four decades of starring roles,” Gelb said, “one of the responsibilities I was preparing for was Placido’s farewell”.
Wit h many singers’ voices w it her i ng by t he t i me t hey hit t hei r for t ies, t he unfa i lingly modest 78-year-old has somehow managed to keep per for ming at t he top level.
“Instead of retiring, Placido appa rent ly d i sc overed h i s own fountain of youth, reinvent i ng h i msel f a s a ba r itone,” Gelb said.
‘Impossible to achieve again’
“This past season, we held ceremon ies for Placido on severa l occasions in honour of his f ive decades of leading roles on t he stage of t he Met – an accomplishment that is i mpossible to i magine ever being achieved again,” Gelb added.
Indeed the singer, who was one of t he T h r e e Tenor s a longside Luciano Pavarotti and Jose Carreras, set a new record in May by singing his 151t h role.
A month earlier he had celebrated his 4,000th performance in a career that stretches back 60 years.
But Domingo knows he has to look after himself, cancelling interviews after rehearsals on Friday in the southern French town of Orange to preserve his voice having recently pulled out of appearing in La Traviata in Munich.
He was in Orange for a “Spanish Night” to celebrate zarzuela, the particularly Hispanic music theatre genre which his parents – both singers themselves – did so much to preserve.
Backstage at the ancient Roman theatre, he joked and chatted with the dancers from the Antonio Gades company who were also taking part in the show.
Punishing schedule
But even for a man half his age, his schedule is punishing.
In July alone, as well as Orange, he will sing the title role in Simon Boccanegra at Baden-Baden in Germany, then star in Verdi’s Giovanna d’Arco ( Joan of Arc) at the Teatro Real in Madrid, before moving on to Prague for Operalia, the international opera competition he founded in 1993.
Domingo will finish the month i n Verona’s ancient theatre singing La Traviata.
“Even though he is near 80, as far as Placido is concerned, there is still no hard stop in sight,” Gelb said.
“We recently planned performances for him through the 2021/22 season. But that doesn’t stop him for pressing for even more roles in the future.
“As Placido gent ly poi nt s out, the house is always fuller when he is performing on our stage . . . Indeed, it’s a successf ul arg ument for letting Placido ca ll t he shots as fa r into t he f uture as he wishes,” he added.
‘Operaholic’
Glorying in being called an “operaholic” in the US, where he has spent most of his later career as director-general of both the Washington and Los Angeles operas, Domingo has made more than 100 albums and picked up 14 Grammy awards.
“Besides his record longevit y, Placido’s place i n opera histor y is secure as one of t he greatest dramatic tenor voices of a l l t i me,” Gelb sa id of t he si nger, who g rew up i n Mex ico singing wit h his pare nt s ’ z a r z u e l a c ompa n y, pl a y i ng t he pi a no a s a n accompanist to supplement his income.
Whenever he finally retires, Gelb said he will leave an enormous legacy.
“His signature role of Otello was considered to be greatest of t he last pa r t of t he 20t h cent ur y – a nd cer ta i n ly no tenor has yet approached his level in t he 21st,” Gelb sa id.